{"id":31180,"date":"2025-09-25T15:09:58","date_gmt":"2025-09-25T13:09:58","guid":{"rendered":"https:\/\/www.nihrff.de\/nihrff-2025\/"},"modified":"2026-09-16T15:40:52","modified_gmt":"2026-09-16T13:40:52","slug":"nihrff-2025","status":"publish","type":"post","link":"https:\/\/www.nihrff.de\/en\/nihrff-2025\/","title":{"rendered":"NIHRFF 2025"},"content":{"rendered":"\n
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\u2190 back to Archive<\/a><\/p>\n\n

NIHRFF 2025<\/h2>\n\n
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NIHRFF MAGAZINE | Download (in German)<\/a><\/div>\n\n\n\n
Programme Overview<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Calendar<\/a><\/div>\n\n\n\n
All Films A-Z<\/a><\/div>\n<\/div>\n\n\n\n
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Guest Overview<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Films with German subtitels<\/a><\/div>\n\n\n\n
Films with English subtitles<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Information in German Sign Language<\/a><\/div>\n<\/div>\n\n\n\n
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Films by section<\/strong><\/h4>\n\n
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International Competition<\/mark><\/a><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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Open Eyes – Human RIghts Films<\/mark><\/a><\/strong><\/p>\n\n\n\n

for Schools<\/mark><\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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International Forum<\/mark><\/a><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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Previews at Cinecitt\u00e0<\/mark><\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n

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Accompanying Programme<\/h4>\n\n
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Panel Discussions <\/mark><\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Festival Lounge<\/mark><\/a><\/strong> <\/p>\n\n\n\n

Radio Z Talks, Concerts, DJing<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n

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Opening Ceremony<\/mark><\/a><\/strong><\/p>\n\n\n\n

15.10., 7:15 pm <\/strong><\/p>\n\n\n\n

Tafelhalle<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Award Ceremony<\/mark><\/a><\/strong><\/p>\n\n\n\n

21.10., 7:30 pm, <\/strong><\/p>\n\n\n\n

Festsaal<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Festivalparty<\/strong><\/strong> Queer Karaoke <\/strong> <\/mark><\/a><\/p>\n\n\n\n

18.10., from 10:00 pm, <\/s><\/strong><\/p>\n\n\n\n

Soft Spot<\/strong><\/p>\n\n\n\n

CANCELED<\/mark><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n

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Award Winners <\/h4>\n\n\n\n
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Der Internationaler N\u00fcrnberger Filmpreis der Menschenrechte<\/strong> geht an THE SILENCE OF REASON<\/a> <\/strong>von Kumjana Novakova.<\/p>\n\n\n\n

Jury Statement<\/strong><\/summary>\n

We are deeply honored and grateful to act as international jury of the Nuremberg International Human Rights Film Festival and we want to thank you for the invitation and the entire, very strong competition program, that we found enriching and inspiring.<\/p>\n\n\n\n

We univocally decided to give the award to the film, that stands for both a cinematic and historical act of justice. It transforms the screen into a memorial, where the invisible becomes visible again, and where each fragment of testimony becomes an act of resistance. <\/p>\n\n\n\n

Through a precise, accurate, and poetic form, it reconstructs the testimonies of Bosnian women who were victims of sistematic rape and sexual slavery during the Yugoslavian wars \u2014 women whose names were erased, but whose voices still echo.<\/p>\n\n\n\n

It reminds us that the recognition of rape as a weapon of war and as a crime against humanity came through the courage of these women and the tireless work of those who documented the evidence.<\/p>\n\n\n\n

And today, this film continues that fight.<\/p>\n\n\n\n

We also want to salute the film\u2019s artistic excellence, the precision of its research, the clarity of its editing, the sound design that carries both horror and dignity, and the original visual language that finds adequate way to represent the horrific violence and confront us with truth.<\/p>\n\n\n\n

This film is not only about the past.<\/p>\n\n\n\n

It\u2019s about our collective responsibility today, to remember, to bear witness, and to never remain silent.<\/p>\n\n\n\n

Because we cannot accept that in wars across the world, the bodies of women continue to be used as battlefields.<\/p>\n\n\n\n

The Award goes to SILENCE OF REASON. Congratulations to Kumjana Novakova, and to everyone who contributed to this necessary and courageous work. <\/p>\n\n\n\n

The International Jury: Borjana Gakovi\u0107, Damien Ounouri, Farahnaz Sharifi <\/p>\n<\/details>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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The festival’s Audience Award,<\/strong> worth 1.000 euros, goes to the documentary MY DEAR TH\u00c9O <\/strong><\/a>by Alisa Kovalenko.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The Open Eyes Youth Jury Prize<\/strong>, also worth 1,000 euros, goes to the French feature film SOULEYMANES’S STORY<\/strong> <\/a>by Boris Lojkine<\/p>\n\n\n\n

Jury Statement<\/strong><\/summary>\n

Over the past few weeks, we\u2019ve watched all the films in the Open Eyes category, which dealt with topics such as family, identity, racism, migration, and violence. We\u2019ve had many long discussions, pondered, reflected, and analyzed. But we were only able to do that because each film was special, left a lasting impression, and often evoked strong emotions. We thank all the filmmakers for that. Still, one film in particular has stayed with us the most. <\/p>\n\n\n\n

\u201cThe film offers us a unique glimpse into a reality that cinema rarely explores. It bestows upon its characters the dignity and humanity that the daily media barrage and politics deny them.\u201d <\/p>\n\n\n\n

– a quote from Trigon Film<\/p>\n\n\n\n

These words capture the full power of Souleymane’s story.<\/p>\n\n\n\n

Souleymane\u2019s story takes us deep into the life of a young man who flees Guinea for France to fight for his place in the world\u2014not as a victim, but as a person who acts, feels, doubts, and hopes. This film explores the invisibility of those whose existence depends on temporary residence permits, documents, and the decisions of others. <\/p>\n\n\n\n

Souleymans Geschichte f\u00fchrt uns tief in das Leben eines jungen Mannes, der aus Guinea nach Frankreich flieht, um sich seinen Platz in der Welt zu erk\u00e4mpfen \u2013 nicht als Opfer, sondern als Mensch, der handelt, f\u00fchlt, zweifelt und hofft. Dieser Film beleuchtet die Unsichtbarkeit jener Menschen, deren Existenz von befristeten Aufenthaltsgenehmigungen, Dokumenten und den Entscheidungen anderer abh\u00e4ngt.<\/a><\/p>\n\n\n\n

Boris Lojkine manages not to explain this reality, but to make it tangible. And that is precisely what makes Souleymane\u2019s story so important and so profoundly human. He reminds us that humanity is not a privilege, but a right. <\/p>\n\n\n\n

One thing that made the film stand out in particular was the variety of human rights that were depicted or violated. Souleymane\u2019s story gives us a glimpse into what it\u2019s like to be homeless and how it might feel to be discriminated against. The film shows us that racism and exploitation are part of everyday life for many people. Souleymane\u2019s asylum process also highlights the fact that it is not a simple or pleasant experience; one cannot live in another part of the world without missing what is important to them, and yet the fear of returning to a place where one must fear for one\u2019s life is always present. These harrowing realities were driven home to us time and again. For example (in the scenes) when Souleymann has to make a phone call right after waking up to find a place to sleep for the night; when it becomes clear that working illegally is his only way to stay afloat because he doesn\u2019t have a residence permit; when he has to separate from his family and his partner because he can no longer be a part of their lives. <\/p>\n\n\n\n

When we think of the film, we don\u2019t just think of a movie that draws attention to important issues, but one that draws us in\u2014right into the heart of the action. Even the music was an experience in itself: authentic, realistic, and with a gripping energy that carried every scene. You could sense that it wasn\u2019t merely background music, but a driving force that made the action even more tangible. <\/p>\n\n\n\n

The camerawork really emphasized that. It didn’t leave us, the audience, on the outside; instead, it drew us in during every single scene, so that we always felt like we had an exclusive view of the lead actor’s facial expressions and gestures. We weren’t just observers\u2014somehow, we were part of the story. And that, we felt, is a great art. <\/p>\n\n\n\n

The tension remained palpable throughout the entire film. There was hardly a moment when the intensity really let up. And when it did\u2014for example, in the scenes at the homeless shelter\u2014it was precisely those brief moments of respite that kept the film from feeling stressful and breathless. It\u2019s a story that touches the heart because it\u2019s so real. And it\u2019s not an isolated case. <\/p>\n\n\n\n

As for the lead actor himself, I can only say this: He played this role\u2014this incredibly strong yet vulnerable protagonist\u2014with a depth that truly moves you. You could feel his strength, but also his fear and his fragility, which he tried to mask with a neutral expression. Generally speaking, it is a very interesting and gripping film that uses Souleyman\u2019s story to illustrate one of many cases and draw attention to the issue of human rights in the context of migration. Thanks to its sustained suspense and realistic cinematic style, it is also perfectly suited for human rights education in schools. <\/p>\n\n\n\n

We think this film deserves an award.<\/p>\n\n\n\n

Wir verleihen den Open Eyes Jugendjury Preis 2025 f\u00fcr die Menschenrechtsbildung an Schulen an den Film Souleymanes Geschichte<\/strong> in der Regie von Boris Lojkine – Herzlichen Gl\u00fcckwunsch!<\/p>\n<\/details>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n

International Jury<\/h4>\n\n
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Borjana Gakovi\u0107 <\/strong><\/summary>\n

Borjana Gakovi\u0107 is a film and media scholar from Berlin. She works as a curator, moderator, editor, lecturer and author in the field of film and cinema culture. <\/p>\n<\/details>\n<\/div>\n\n\n\n

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Damien Ounouri<\/strong><\/summary>\n

Damien Ounouri is a director and producer from Algiers. His award-winning documentary feature film FIDA\u00cf screened in Nuremberg, as did his medium-length fiction film KINDIL EL BAHR. With THE LAST QUEEN, he presented his first feature-length film in 2022. <\/p>\n<\/details>\n<\/div>\n\n\n\n

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Farahnaz Sharifi <\/strong><\/summary>\n

Farahnaz Sharifi is a director, editor and author from Tehran. Many of her internationally recognised works have already been shown in Nuremberg, including her feature film directorial debut MY STOLEN PLANET, which premiered at the 2024 Berlinale. <\/p>\n<\/details>\n<\/div>\n<\/div>\n\n

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Open Eyes Youth Jury<\/h4>\n\n
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Ela Firat, Luisa Wehr, Matilda Previderio, Alina Friedrich<\/p>\n\n

from the Labenwolf Gymnasium N\u00fcrnberg<\/p>\n\n

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Guests 2025<\/h4>\n\n

in presence<\/h4>\n\n
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Daniel AbmaDirectorTHE FAMILY APPROACH<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Dr. Oluwatoyin Adejonwo Panel Climate Crisis & Colonialism<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Sadik al-Shamali Producer THE VISUAL FEMINIST MANIFESTO<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Farida BaqiDirector THE VISUAL FEMINIST MANIFESTO<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Evi Chayka Activist Equal Post-OstOPENING CEREMONY<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Faseeha Chugtai ProtagonistSISTERQUEENS<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Olga Churakova JournalistMY UNDESIRABLE FRIENDS: PART I – LAST AIR IN MOSCOW<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Georg Escher JournalistPodium Pressefreiheit<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Borjana Gakovi\u0107 International Jury<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Surendar Gobhalakannou THE ADAMANT GIRL<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Sonya GroysmanJournalist<\/a><\/a>MY UNDESIRABLE FRIENDS: PART I – LAST AIR IN MOSCOW<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Olga Kosanovi\u0107DirectorFAR FROM BEING LIPIZZANS<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Alisa Kovalenko DirectorMY DEAR TH\u00c9O<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Dr. Michael KrausGeorg-August-Universit\u00e4t G\u00f6ttingen, IntroductionTALES OF OBLIVON<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Marcus Lenz DirectorSHARDS OF LIGHT<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Ramona LenzPodium Climate Crisis and Colonialism<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Maik L\u00fcdemannRegie<\/a>KEIN LAND F\u00dcR NIEMAND<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Arivunila ManoharanTHE ADAMANT GIRL<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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L\u00facia Murat DirectorPLAYTIME<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Kumjana NovakovaDirectorSILENCE OF REASON<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Damien OunouriInternational Jury<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Rita Pestana EditorI ONLY REST IN THE STORM<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Martina PriessnerDirectorTHE MOELLN LETTERS<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Iva Radivojevi\u0107DirectorWHEN THE PHONE RANG<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Christoph SafferlingInternational Nuremberg Principles AcademyPanel international criminal law<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Farahnaz SharifiInternational Jury<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Janaga Thileeban JanagarajanSubramanian THE ADAMANT GIRL<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Mila Teshaieva DirectorSHARDS OF LIGHT<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Eszter TompaActressKONTINENTAL ’25<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Vinothraj P.S.DirectorTHE ADAMANT GIRL<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Astrid WalterInternational Nuremberg Principles AcademyPanel international criminal law<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Karin Zennigmedico internationalPanel Climate Crisis & Colonialism<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Paula Zimmermannamnesty internationalPanel Freedom of Press<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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online<\/strong><\/h4>\n\n\n\n
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Layla AlsheikhParents Circle Family ForumHOLDING LIAT<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Ratchapoom BoonbunchachokeDirectorA USEFUL GHOST<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Robi DamelinParents Circle Family ForumHOLDING LIAT<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Dulce FernandesDirectorTALES OF OBLIVON<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Libby LenkinskiImpact ProduzentinHOLDING LIAT<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Petr LomDirectorTHE CORIOLIS EFFECT<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Najiba Noori DirectorWRITING HAWA<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Lee Anne Schmitt DirectorEVIDENCE<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\u2190 back to Archive NIHRFF 2025 Films by section Accompanying Programme Award Winners Der Internationaler N\u00fcrnberger Filmpreis der Menschenrechte geht an THE SILENCE OF REASON von Kumjana Novakova. The festival’s […]<\/p>\n","protected":false},"author":13,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[448,99,446],"tags":[381],"class_list":["post-31180","post","type-post","status-publish","format-standard","hentry","category-2025-uebersichtsseite-en","category-programme-en","category-rahmenprogramm-2025-en","tag-2025-en"],"mb":[],"mfb_rest_fields":["title"],"_links":{"self":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/posts\/31180","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/comments?post=31180"}],"version-history":[{"count":24,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/posts\/31180\/revisions"}],"predecessor-version":[{"id":34824,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/posts\/31180\/revisions\/34824"}],"wp:attachment":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/media?parent=31180"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/categories?post=31180"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/tags?post=31180"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}